By Helen Hanson, Andrew Spicer
An authoritative better half that provides a wide-ranging thematic survey of this enduringly well known cultural shape and comprises scholarship from either verified and rising students in addition to research of movie noir's impact on different media together with tv and picture novels.• Covers a wealth of latest techniques to movie noir and neo-noir that discover concerns starting from conceptualization to cross-media influences
• gains chapters exploring the broader ‘noir mediascape’ of tv, picture novels and radio
• displays the old and geographical achieve of movie noir, from the Nineteen Twenties to the current and in quite a few nationwide cinemas
• comprises contributions from either verified and rising scholars
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Additional resources for A Companion to Film Noir
As a train hurtles past, they are cast into darkness, silhouetted A Companion to Film Noir, First Edition. Edited by Andrew Spicer and Helen Hanson. © 2013 Blackwell Publishing Ltd. Published 2013 by Blackwell Publishing Ltd. 34 Mark Bould beneath a bright white recruitment poster for the vampire army. The commuters’ eyes – and the tip of Dalton’s cigarette – glow orange in the night. It is 2019 and 95 percent of the human race have become vampires. The remaining humans, who refused the “chance to assimilate,” are considered “enemies of the state” to be “captured and farmed,” but famine confronts the vampires.
A black car cruising the rain-slicked streets pulls under cover. Its wing mirror reflects the driver’s immaculate white shirt, pale tie, and black jacket, but his head and hands are invisible. Gaunt hematologist Edward Dalton (Ethan Hawke) steps from the car, dons a fedora, and quietly regards a gang of children sheltering from the rain – the poise with which they smoke and drink suggests that they are much older than their adolescent bodies appear. Dalton descends into the subway and joins the nocturnal commuters facing the edge of the platform, towards the camera.
The glamorous model advertising Infinity White advanced whitening toothpaste has bright red lipstick and dazzling white fangs. By a graffitied subway entrance “Blood is life” is scrawled in red. As the sun finally sets, as night falls, the steel blinds over windows rise, like eyelids opening. The neon-lit city comes to life: cars race and people teem. A storm breaks. The film proper begins. A starving hobo begs for blood, snarls at an affluent couple in 1940s’ style clothing, and is restrained by police.
A Companion to Film Noir by Helen Hanson, Andrew Spicer